Who painted Claudius de Saint-Simon, Prince-Evêque de Metz?

Claudius de Saint-Simon, Prince-Evêque de Metz was painted by Jean Daullé in 1744.

Where can I see Claudius de Saint-Simon, Prince-Evêque de Metz?

Claudius de Saint-Simon, Prince-Evêque de Metz is held by National Gallery of Art.

What movement is Claudius de Saint-Simon, Prince-Evêque de Metz?

Claudius de Saint-Simon, Prince-Evêque de Metz is associated with Baroque.

Can I buy a print of Claudius de Saint-Simon, Prince-Evêque de Metz?

Museum-quality prints of Claudius de Saint-Simon, Prince-Evêque de Metz are available made-to-order from Artifact World Gallery.

Artwork

Claudius de Saint-Simon, Prince-Evêque de Metz

Jean Daullé , 1744

Claudius de Saint-Simon, Prince-Evêque de Metz is an ink print by the Baroque artist Jean Daullé. It dates from 1744 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:across lower center of plate: Claudius de Saint Simon, / Episcopus Princeps Metensis Par Franciae; lower left in plate: Peint par Hyacthe. Rigaud Ecuier Chever. del'Ordre de St. Michel; lower right in plate: Gravé par J. Daullé, Gravr. du Roy, à Paris en 1744

About this work

Overview

Jean Daullé’s 1744 engraving portrays Claudius de Saint‑Simon, Prince‑Bishop of Metz, seated in an upholstered chair. He rests his left hand on an open book, wears a prominent cross, and his curly hair frames a dignified expression. The composition is set against a backdrop that includes a draped curtain, a decorative tassel, and a mantel‑mounted clock.

Subject & Meaning

The portrait emphasizes the ecclesiastical rank and aristocratic status of Saint‑Simon through sumptuous dress and the visible cross. The inclusion of a timepiece alongside the book may allude to the temporal responsibilities of a prince‑bishop and the fleeting nature of earthly authority.

Technique & Style

Daullé employs fine line engraving on laid paper, achieving a high degree of realism through meticulous hatching and cross‑hatching. The rendering of textures, fabric, metal, and wood, demonstrates the artist’s skill in creating depth and materiality within the constraints of the print medium.

History & Provenance

Created in 1744, the print reflects Daullé’s active period in Paris, where he was known for portrait engravings of high‑ranking clerics and nobles. The work has circulated among collectors of French 18th‑century prints and is documented in several museum catalogues of the period.